The downside is: no optical stabilization as with your 14-140mm, and much heavier lenses (especially with combination Speebooster + lens) creating top-heaviness. Apart from that, the Speedbooster + Nikkor solution is - IMHO - in every way superior to a native MFT lens set:

• The optics of the Nikkors are simply better. They don't rely on software correction and therefore create a more pleasant, less harsh/artifically looking image (while still being sharp). Color rendering of most Nikkors is also better than of MFT system lenses.
• Handling is superior with real focus and aperture rings, however those rings turn the other way than normally.
• The Nikkors are more versatile and future-proof because they can be adapted to almost any camera system including Sony NEX and Canon EOS.

Thanks guys, that's really helpful! I appreciate your wisdom Vitaliy and that's why I still want to keep my MFT glass with autofocus and such. I'll check out that SB topic.

@cantsin could you recommend some good Nikon mount glass? What's a good wide angle solution?

I rather like my 35mm f/1.4 Nikkor, 105mm f/2.5 and 24mm f/2 as well. Like you, I started buying Nikkor glass for a 35mm adapter and a DVX.

@Xenocide38 Do you find yourself ever needing an extra stop on the 24mm f/2.8? I'm debating between that and the f/2. It seems like the 2.8 is selling for a lot cheaper on eBay.

@kokav I'm typically shooting at f2.8 or f4 so don't really need the super fast apertures but it's nice to know they are there.

Most of my work I'm using lights and with modern sensors it doesn't take a lot of light to get a good exposure at 1/50th shutter and ISO 200. F2.8 ends up being pretty perfect for shallow depth of field look without EVERYTHING out of focus.

The situations where I'd NEED to shoot at f2 or f1.4 there probably wouldn't be enough light anyway and I'd be boosting ISO and getting a noisier image. Those larger apertures are better suited for photography where you want your shutter up around 1/400 or higher. For video at 1/50th there's usually plenty of light, at least for my style of shooting.

I use both:

Where visual style isn't the 1st priority (ex: doc or events, with hand held/run & gun): Electronic MFT lenses.

Where it a priority (Interviews, Narrative, Music video, Commercials, etc.): The widest, fastest lenses (Usually Nikkor AIS, I invested long, long ago in the analog era) I can get. I haven't invested in the MB SB yet.

I also own some C mount lenses (ditto on the investment side) , some cover MFT, and provide an interesting look.

Note: With manual glass wide open you really, really, need focus confirmation. peaking in camera, on a monitor or the GH2 magnification feature (which doesn't work while recording). This is the single biggest reason I am looking to upgrade from the GH2.

@Xenocide38 @CFreak Thanks, that's helpful to know.

@brianl They seem to sell somewhere in the $125-200 range, used. I'm trying to find one for under $150.

Sorry guys, but for the most part those old Nikon lenses are NOT as good optically as the better Panasonic lenses. In fact they are quite inferior even after the Panny lenses are corrected for distortion. The Nikon lenses may look more "natural" or "cinematic" simply because they aren't as sharp and have lower contrast. Most of those older lenses are lousy wide open and have subpar coatings relative to Lumix or Olympus MFT lenses.

Of course a true manual focus lens has one major advantages for video over any by-wire lens ... unless you want AF....

Woah..I'll take your Canon glass :-)....FDs are hands down my favourite glass I've ever used.

@BurnetRhaodes Great video, fascinating that even at the highest levels of Hollywood they still experiment and find out surprising things with their gear. Btw, I'm thinking of bidding on this, anyone know if it covers the Pocketcam sensor? ;) http://www.ebay.com/itm/Cooke-S4-HD-Cine-8-46mm-T1-7-B4-Mount-Lens-Used-/130439722954?_trksid=p2054897.l4275

@AdamT

My copy of the Tokina AT-X PRO AF 28-70mm 1:2.6-2.8 Angenieux optical formula (Pro I with screw on hood) WIDE OPEN is really sharp. The first copy of Tokina AT-X PRO that I purchased was not of the Angenieux pedigree (Pro I with screw on hood) and sucked ass so I sold it right after I bought it. This is actually a good point for other lenses as well because sometimes the copy of the lens itself is shitty and I speak from experience from purchasing the same exact lens. I am anal as all get out when it comes to lens quality.

I have an old Nikkor 70-210 F/4 that cost me a measly $175.00 bones that is sharp as fuck WIDE OPEN throughout the whole zoom range with almost no distortion. I really like this lens because it is small and compact and does not weigh a ton like my 80-200 F/2.8. I have also had and sold many other Nikon lenses such as the Nikkor AIS 105 F2/5, Nikkor 85mm F/2 AIS, Nikon 50mm 1.8 AIS, etc etc. I have personally tested each of these lenses on a full frame cameras and they were all excellent even wide open.

Do you own a Nikon film camera or Nikon full frame camera? Did you get a chance to shoot with any of these lenses on a Nikon full frame camera or Panasonic GH2? I have and let me tell you they are excellent lenses and in my opinion are better then the Panasonic lenses for video for several different reasons.

1. Build quality: Most of the older Nikon lenses are built with precision and do not have any electronics that will eventually fail on you.

2. Manual focus: Nikon wins hands down providing you get a good copy of the lens with a smooth focus action.

3. Versatility: Nikon lenses will fit on many different cameras some of which are Canon, Sony, Panasonic etc. Panasonic and Olympus M/43 lenses will only work on the M/43 cameras.

4. Resale-ability: Nikon/Nikkor lenses have a broader demographic due to the flexibility of the mount itself and also due to the reputation of the Nikon/Nikkor brand of lenses which is outstanding.

I do agree with you though that the Panasonic lenses are really super sharp wide open and have better coatings then the older Nikon lenses. I also think that the Panasonic 12-35 and 35-100 are great lenses due to the OIS and super sharp resolution, but other then those 2 lenses I would not invest in any other M4/3 lenses. Here is a quick video that I shot to illustrate how sharp the Tokina 28-70 is wide open in comparison to the Panny 20mm, keep in mind that the Tokina was attached to a cheap Mitakon speed booster and it is still really sharp in the center.

@Xenocide38 I read your blog and I'm surprised at how well that cheap speed booster performs. I wonder if its all that worth it to go for the 'real' speed booster...